Tekstisegmentide ühendamine üksteisega ja selle lisatähenduste moodustamine seesmise ümberkodeerimise põhimõttel ning tekstisegmentide võrdsustamine, mus muudab nad struktuurseteks sünonüümideks ja moodustab lisatähendusi välise ümberkodeerimise põhimõttel, moodustavad kunstilise teksti mehhanismi aluse. (Lotman 2006: 140)The essence of this division manifests itself in the fact that when a speaker generates a grammatical phrase in any natural language, he performs two distinct acts: a) he combines words to form chains that are semantically and grammatically correct (marked); b) from a certain set of elements he selects the one used in the given sentence. The conjunction of textual segments, the consequent formation of additional meanings according to the principle of internal recoding, and the equation of segments of a text, which transforms them into structural synonyms and forms additional meanings according to the principle of external recoding, together compose the basis of the mechanics of an artistic text. (Lotman 1977: 79)

Ühesuguste elementide liitmine lülideks toimub teiste seaduspärasuste järgi kui eriliigiliste liitmine - see leiab aset sidumisena ning taasloob selles mõttes kõneteksti fraasiülese ehituse põhitunnuse. Oluline on seejuures järgmine: ühe ja sama elemendi kordumine summutab tema semantika tähenduslikkuse (vrdl psühholoogilist efekti ühe ja sama sõna mõttetuseks muutuval lõputul kordamisel). Seevastu kerkib esile nende tähenduse kaotanud elementide sidumisviis. Nõnda toimub ühtaegu elementide endi formaliseerumine ning nende formaalsete seoste semantiseerumine. (Lotman 2006: 152)The conjunction of identical elements in a chain is governed by laws other than those governing the conjunction of heterogeneous elements - it is constructed according to the principle of addition, and in this sense reproduces the basic trait of supra-phrasal construction characteristic of a spoken text. The following point is essential: the repetition of the same element mutes its semantic significance (cf. the psychological effect produced when a word is repeated several times, with the result that it begins to sound like nonsense. At the same time, the means for conjoining these elements themselves are formalized and simultaneously their formal bonds are semanticized. (Lotman 1977: 85-86)

Kuid tähelepanelikumal vaatlusel osutub elementide fraasisisese ja fraasuülese sidestamise absoluutne vastandamine kunstilise teksti ülesehituse süntagmaatilisel teljel raskendatuks. Tuues sisse teksti alguse ja lõpu kui kohustuslike struktuurielementide mõiste, võimaldame vaadelda kogu teksti ühe fraasina. Kuid fraasilised on ka teda moodustavad segmendid, millel on oma algused ja lõpud ning mis rajanevad teatud kindlal süntagmaatilisel skeemil. Niisiis võib kunstilise teksti ükskõik missugust olulist segmenti tõlgendada nii fraasina kui ka fraaside järgnevusena. Ja enamgi: selle abil, mida J. N. Tõnjanov nimetas sõnajada "kitsuseks" värsireas, R. O. Jakobson aga selektsioonitelje projektsiooniks ühendamisteljele, moodustavad kõrvuti seatud sõnad kunstilises tekstis antud segmendi piires semantiliselt lahutamatu terviku - fraseologismi. Selles mõttes suhestub ükskõik milline tähenduslik segment (kaasa arvatud universaalne segment - kogu teose tekst) mitte ainult tähenduste lülidega, vaid ka ühe liigendamatu tähendusega, see tähendab, osutub sõnaks. (Lotman 2006: 153)If we take a closer look, however, we find it difficult to pose any absolute opposition between the phrasal and supra-phrasal conjunction of elements on the syntagmatic axis of an artistic text's construction. By introducing the concept of the beginning and end of a text as structural elements whose presence is obligatory, we permit the wholet ext to be examined as one phrase. But its constituent elements, which have their own beginning and end are costructed along syntagmatic lines, are also phrasal in nature. Thus any meaningful segment of an artistic text can be interpreted both as a phrase and as a sequence of phrases. Moreover, as a result of what Jurij Tynjanov calls the "compactness" of the verbal series in a line, and Roman Jakobson - the projection of the axis of selection onto the axis of combination - the words set together in an artistic text form a semantically indissoluble whole, a "phraseologoism," within a given segment - the entire text of a work) is correlated not only with a chain of meanings, but also with one indivisible meaning. In other words, any meaningful segment is a word. (Lotman 1977: 86-87)

Real understanding of any scientific subject must include some knowledge of its historical growth; we cannot comprehend and accept modern concepts and theories without knowing something of their origins - of how we have got where we are. Neglect of this maxim can lead to that unfortunate state of mind which regard the science of the day as finality. (Cherry 1977: 32)We should temper reading by writing, and reciprocally, so that the written composition gives body (corpus) to what has been obtained by reading. Reading collects orationes logoi (discourses, elements of discourse); we must make a corpus of them. (Foucault 2005: 359)The existence of the inner book, along with unreading or forgetting, is what
makes the way we discuss books so discontinuous and heterogeneous. What we take to be the books we have read is in fact an anomalous accumulation of fragments of texts, reworked by our imagination and unrelated to the books of others, even if these books are materially identical to ones we have held in our hands. (Bayard 2007: 85-86)The post-Cubist function of quotations in collages emerges with particular clarity in the early notes of Eisenstein, who wrote in 1928 that "an entire treatise can be made by composition of quotations." In his later works, in which compositions of quotations are often used, he himself explains them (in the spirit of the "linear style" of quotations) by a desire for "minimal distortion." (Ivanov 1976b: 323)A person may be interested in scientific statements for their own sake (interested in collecting them as a person may be interested in collecting butterflies); a person may have knowledge and the increase of knowledge as his goal. (Morris 1949: 128)In non-literate society, of course, there are usually some individuals whose interests lead them to collect, analyse and interpret the cultural tradition in a personal way [but] it is still evident that the literate individual has in practice so large a field of personal selection from the total cultural repertoire that the odds are strongly against his experiencing the cultural tradition as any sort of patterned whole. (Goody & Watt 1963: 335)A different language is too often taken for stammering, a nonconformist virtuosity is misinterpreted as formlessness, exquisite variability is confused with cruelty, intentional enigmatic indefiniteness is deplored as the disappointing obscurity or fragmentariness of a mere neglected sketch, and in the stupendous interplay of symmetry and disequilibrium onesided critics are prone to overlook the harmony and to observe nothing but chaos. (Jakobson 1981[1967b]: 498)I am convinced that there must still be a number of other concepts or models of potentially systemic generality scattered in some (un)fairly unknown works of disappeared or living researchers. We should dive for them in the deeps of literature. (François 1999: 217)